Resumen (otros idiomas)

Our main purpose is to show, through his characters’ identities, that the works of anime director Satoshi Kon are contextualized within the Japanese Superflat art movement. We also seek to determine if Kon’s main characters’ identities are affected as a result of a crisis in their consciences, and see if this fact changes somehow the storytelling. When selecting our study sample, we have discarded his works in manga, because we consider them out of our business, as well as those works that did not perform as a director or were unfinished after his death. After considering these two criterions, the study sample in our research is formed by the following works: Perfect Blue, Millennium Actress, Tokyo Godfathers, Paranoia Agent and Paprika. The study of Japanese animation presents a number of difficulties for Western researcher, because the texts referring to the topic are always scarce. In our research we consult manuals, books and articles of disparate areas. On the one hand, we turn to books that analyze the manga and anime, as well as Japanese cinema. In these media we must emphasize authors as Richie, Schodt, Sala, Ortabasi, Gravett or Napier, among many others. Regarding the works related to Japanese animation, is given special importance to the ones focus on the figure of the director, highlighting published by Osmond, Kirst, Montero, Cerdan and Lopez. In addition, we use several interviews made in various media to the director and some of his assistants. At the same time, we pay attention to authors that study the character in fiction: Bobes, Garrido, Genette and Chatman; as well as those that are framed within the study of audiovisual story: Gaudreault, Jost, Mitry, Sanchez-Noriega, Metz or Morin. In general in Japanese art we use Gutiérrez’s texts; in the study of Superflat we use Murakami’s texts besides other authors as Bogarín, Matsui, Sawagari, Siegel or Munroe...